I swear to you on my honour that I cannot abide Salzburg and its inhabitants – I mean the people who were born there; – their language – their whole way of life are intolerable; – you won’t believe what I suffered during Madame Robinig’s visit here; – it’s a long time since I’ve spoken to such a fool; – and to make matters worse, the simple-minded and deeply stupid Mosmayer was with her – but let’s move on; – yesterday I went with my dear friend Cannabich to see the electress and present her with my sonatas;1 she’s in lodgings here just as I too shall undoubtedly be one day – just as any private individual can be lodged, nice and cosy, apart from the view, which is wretched – we were with her for a good half hour and she was really very kind; – I’ve ensured that she’s told that I’ll be leaving here in a few days so that I’m paid promptly – you don’t need to worry about Count Seeau as I don’t think the matter will pass through his hands, and even if it does, he wouldn’t dare say a word against me; – well, to be brief, believe me when I say that I’m burning with desire to embrace you and my dear sister again – if only it weren’t in Salzburg; – but since it’s impossible to see you without going to Salzburg, I shall be happy to go there –
I must hurry as the post is leaving; – my little cousin2 is here – why? – to please her cousin? – That, of course, is the obvious reason! – But – we’ll talk about this in Salzburg; – and this is why I’d very much like her to come back to Salzburg with me! – You’ll find something in her own hand appended to the fourth page of this letter; – she’d like to come; – so, if you’d enjoy having her in your house, I wonder if you’d be good enough to write at once to your brother, saying that it’s all right – when you see her and get to know her, you’ll certainly be pleased with her – everyone likes her; – now farewell, dearest, most beloved father; – I kiss your hands 1000 times and embrace my dear sister with all my heart and ever remain
Your most obedient son
W A Mozart
Madame Hepp née d’Hosson died yesterday in childbirth; – she too was killed by her doctors; –
[His cousin’s postscript]
Monsieur mon très cher oncle
I hope that you and my mistress cousin are well; I have had the honour of finding your son3 in very good health in Munich, he wants me to come to Salzburg, but I don’t know if I’ll have the honour of seeing you:
[inkblot, beneath it two lines in Mozart’s hand]
a portrait of my cousin; she’s writing in her shirtsleeves! –
[In his cousin’s hand]
but my cousin is a real fool, as you can see. I wish you well, mon cher oncle, 1000 good wishes to Mademoiselle Cousine je suis de tout mon cœur4
[In Mozart’s hand]
Monsieur
votre invariable Cochon5
[In his cousin’s hand]
Munich the 8 January
1779 Fräulein Mozart
[In Mozart’s hand]
where the last person has not yet shat –
Mozart arrived backin Salzburg during the third week of January 1779, at which time he formally petitioned Archbishop Colloredo for his appointment as court and cathedral organist: ‘Your Serene Highness was most graciously pleased after the decease of Cajetan Adlgasser most graciously to take me into your service: I therefore most submissively beg that I may be graciously assigned the post of Court Organist in your exalted service; to which end, as for all other high favours and graces, I subscribe myself in the most profound submission.’ On 17 January Colloredo decreed: ‘Whereas We by these presents have graciously admitted and accepted the suppliant as Our Court Organist, that he shall, like Adlgasser, carry out his appointed duties with diligent assiduity and irreproachably, in the Cathedral as well as at Court and in the Chapel, and shall as far as possible serve the court and the church with new compositions made by him; We decree him therefor, like his predecessor, an annual salary of four hundred and fifty gulden, and command Our Court Pay Office to discharge this by monthly instalments, and to render account for each outlay in the appropriate place.’(Deutsch, Documentary Biography, 181–2).
Mozart composed several substantial works during this period, including the masses K275, 317 and 337, the vespers K321 and 339, the symphonies K318, 319 and 338, the ‘Posthorn’ serenade K320, the sinfonia concertante for violin and viola K364, the concerto for two pianos K365, and the accompanied sonata K378. The diary that Nannerl Mozart kept at this time provides a fascinating insight into the everyday life of the Mozart family. The following extract is typical; the entries were read at the time by Mozart, who added a few comments of his own.
100. Nannerl Mozart’s diary, 15–28 September 1779
15th. To church at 8 o’clock, at Lodron’s and the Mayrs’:1 afternoon Katherl and Feigele and Herr Finck2 called on us:
[In Mozart’s hand]
Rained all day.
16th. To church at 8 o’clock. Afternoon with Lodron. At 4 o’clock visit from Feigele. Played tarot. Changeable weather, just like April. And very cool.
17th. To church at half past 7. At Lodron’s and the Mayrs’. At half past 2 Fräulein Nannerl, Therese and Luise Barisani called. From 5 to 6 the 2 Mlles Hartensteiner called. At 6 Fräulein Josepha3 came. Feigele was also there. We played cards. At half past 7 Mölk4 came, but left straightaway. At 9 my brother took the girls home. Weather changeable like yesterday.
18th. To cathedral at 9. Hours. Katherl and Paris5 had lunch with me, as Papa and my brother were lunching at Holy Trinity. Feigele provided the prizes. Wirtenstätter won. Played tarot. At 6 Papa, I, Feigele, Wirtenstätter and Pimperl went for a walk. Back home by half 7. Fine weather.
19th. Mass at the University Church at half past 9. Then to the Mayrs’ and assistant riding master.6 At 2 to Lodron’s. Visit from Feigele. Played tarot. At 6 Papa, Feigele, my brother, I and Pimperl to the Robinigs’. Back at half 8. Very beautiful weather.
20th. To church at half past 7. At Lodron’s and the Mayrs’. Visit from Feigele during the afternoon. Played tarot. Weather changeable; rained heavily. A fine evening.
21st. To church at half past 7, then called in at the Barisanis to congratulate Frau Barisani. Afternoon at Lodron’s. Visit from Katherl and Feigele. Played tarot. Heavy showers alternating with sunny spells all day.
22nd. At Lodron’s; then Mass at Holy Trinity at half past 10. Then to the Mayrs. At 2 my brother and I called on Frau von Antretter. Papa joined us there. Returned home at 4 with Feigele. Played tarot. Then went for a walk. At half past 8 Herr Heydecker, the ropemaker from Ischl, called. The valet Angerbauer7 returned from court with my brother. Rain. Stopped. Beautiful evening later on.
23rd. To Mass at 7 o’clock. Called on Mayr and assistant riding master. Bite to eat at Lodron’s. Katherl and Schachtner called. Played tarot. At half past 4 the couple from Ischl. Rained and didn’t rain. In the evening a thunderstorm and not a thunderstorm.
[In Nannerl’s hand]
24th. To Mass at Holy Trinity at 10 and half past 10. In the afternoon Messrs Ferrari,8 Fiala, Schachtner and Brindl9 called, rehearsed for a concert, afterwards at Katherl’s the [In Mozart’s hand] Mezgers10 there. Half past 11 played. At 4 my father and brother joined us. At 5 we all went bowling in the Mezgers’ courtyard. At 9 a serenade in the street outside Herr Döll’s on the Kollegienplatz. The march from the last graduation music.11 ‘Lustig sind die Schwobemedle’.12 And the Haffner music.13 Rained during the morning. Cleared up during the afternoon.
25th. Mass at half past 9. Target practice in the afternoon. Feiner14 provided the prizes. Katherl and Wirtenstter won as a team. Played tarot. Fine weather in the morning. Rained during the afternoon.
26th. Massed at 7 o’clock. Later lost patience with Regine, the assistant riding master’s daughter, and at the Mayrs. Lodronned on in the afternoon and Lodronned off at 3. At 4 we were Feigeled and then demoneyed at tarot. The sky dewatered itself nearly all day and we were badly winded.
27th. At Lodron’s. Mass at half past 10. Then home
. My brother went to Lodron’s instead of Papa, who has rheumatism. Schachtner afternoon till 5 Feigele and Katherl called. Played tarot. Weather same as yesterday.
28th. Mass at 7. At the Mayrs and assistant riding master’s. Afternoon Mlle Braunhofer15 called. Katherl, Feigele – played tarot. Weather changeable. But the evening delightful.16
In the late spring or summer of 1780, Mozart was commissioned to compose the opera Idomeneo, re di Creta (’Idomeneo, king of Crete’) for Munich. He left for the Bavarian capital on 5 November, arriving the next day. An extended correspondence between Leopold and Wolfgang survives from this time, detailing Mozart’s compositional decisions and Leopold’s involvement in them. The following letters, though by no means complete, are representative.
101. Mozart to his father, 8 November 1780, Munich
Mon très cher Père,
I arrived here happy and contented! – Happy, because nothing untoward happened to us on the journey, and contented, because we could hardly wait for the moment when we reached our destination on account of the journey which, although short, was very uncomfortable; – I assure you that it was impossible for any of us to get even a minute’s sleep all night – this type of carriage jolts the very soul out of your body! – And the seats! – As hard as stone! – After we’d left Wasserburg I began to think I’d never get my backside to Munich in one piece! – It was really sore – and presumably bright red – for two whole stages I sat supporting myself on my hands on the upholstery, holding my backside in the air–––but enough of this, it’s all behind me now! – But as a rule I’d prefer to walk in future – anything rather than travelling by mail coach. – Now for Munich. – We didn’t arrive till 1 in the afternoon but by the evening I’d already been to see Count Seeau and left a note as he wasn’t at home – the next morning I went back there with Becke, who sends his best wishes to everyone, including the Fialas and all his other acquaintances in Salzburg; – Seeau is like putty in the hands of the Mannheimers – as for the libretto, the count says it’s not necessary for Abbate Varesco1 to copy it out again before sending it here – it’s being printed here – but I think he should write it out straightaway and not forget the stage directions and send it here as soon as possible, together with the synopsis – as for the names of the singers, this is the least of our worries, as these can easily be added here.
Some small changes will have to be made here and there – the recitatives need shortening a little – but it will all be printed;
I’ve a request to make of the Abbate; – Ilia’s aria in the second scene of act two2 I’d like to change a little to bring it into line with what I need – se il padre perdei in te lo ritrovo: this line couldn’t be better – but then comes something that has always struck me as unnatural – I mean in an aria – namely,an aside. In a dialogue these things are entirely natural – a few words are hurriedly spoken as an aside – but in an aria, where the words have to be repeated, it creates a bad impression – and even if this weren’t the case, I’d still prefer an aria here – if he’s happy with it, the opening can stay as it is, as it’s delightful – an aria that flows along in an entirely natural way – where I’m not so tied to the words but can just continue to let the music flow, as we’ve agreed to include an andantino aria here with 4 concertante wind instruments, namely, flute, oboe, horn and bassoon. – Please make sure I receive it as soon as possible. –
Now for something disagreeable: – although I’ve not had the honour of meeting the hero dal Prato, it seems from the description I’ve been given of him that Ceccarelli is almost to be preferred: – he often runs out of breath in the middle of an aria and – would you believe it? – he’s never appeared on stage – also, Raaff is like a statue – – so you can imagine their scene in the opening act.3 –
But now for something good. Madame Dorothea Wendling is arcicontentissima with her scena – she wanted to hear it 3 times in succession.4 The Grand Master of the Teutonic Order5 arrived yesterday – Essex 6 was given at the electoral court theatre – with a magnificent ballet. The theatre was all lit up; – they began with an overture by Cannabich, which I didn’t know as it’s one of his latest. – – – I assure you that if you’d heard it, you’d have liked it and been as moved by it as I was! – And if you’d not previously known it, you’d certainly never have thought it was by Cannabich – come soon and hear and admire the orchestra. I don’t think there’s anything else to report. There’s a big concert this evening. Mara7 will be singing 3 arias – is it snowing in Salzburg as much as here? –
Best wishes to Herr Schikaneder, I’m sorry I can’t yet send him the aria,8 as I haven’t quite finished it –
I kiss your hands a thousand times and embrace my sister with all my heart. I am, Mon très cher Père,
Your most obedient son,
Wolf. Amadè Mozart
A thousand good wishes from Cannabich and Wendl., they hope they’ll soon have the pleasure of getting to know you both.Adieu.
[On the envelope]
Il vostro Figlio Giovane Beckio fa i suoi Comp. con suo sigillo9
102. Mozart to his father, 15 November 1780, Munich
Mon très cher Père,
Your letter or, rather, the whole packet, has arrived safely. Many thanks for the bill of exchange – so far I’ve not had lunch at home – and so I’ve no expenses except for the hairdresser, barber and laundress – and breakfast. –
The aria1 is excellent as it is; – but there’s now a further change, for which Raaff is to blame – but he’s right; – and even if he weren’t, one would still have to do something to acknowledge his grey hairs. – He was here yesterday – I ran through his first aria2 with him and he was very pleased with it; – well – the man is old; in an aria like the one in the second act, ‘fuor del mar ho un mare in seno’ etc., he can no longer show off his abilities – and so, because he has no aria in the third act and because his aria in the first act can’t be cantabile enough for him as a result of the expression of the words, he wanted to replace the quartet with a nice aria following his final speech: ‘O Creta fortunata! o me felice’. In this way another useless number will be cut here – and the third act will now be far more effective. – Now – in the final scene of act two – Idomeneo has an aria or, rather, a kind of cavatina between the choruses – it’ll be better to have just a recitative here,3 with the instruments working hard beneath it – for in this scene, which – because of the action and the grouping, which we’ve recently agreed on with Le Grand4– will be the finest in the whole opera, there’ll be so much noise and confusion on stage that an aria would cut a poor figure – also, there’s the thunderstorm, which I don’t suppose will stop for Herr Raaff’s aria, will it? – And the effect of a recitative between the choruses is incomparably better. – Lisel Wendling has already sung through her two arias5 half a dozen times – she’s very pleased. I have it from a third party that the 2 Wendlings have praised their arias very highly. Raaff is in any case my best and dearest friend! –
But I have to go through the whole opera with my molto amato castrato dal Prato. He’s incapable of singing a meaningful cadenza in an aria, and his voice is uneven! – He’s been engaged for only a year, and as soon as this period is over, which will be next September, Count Seeau will take on someone else. Ceccarelli could then try his luck. Sérieusement–
I almost forgot the best piece of news of all, last Sunday after the service Count Seeau introduced me en passant to His Highness the Elector, who was very gracious to me. He said:I’m delighted to see you here again. And when I said that I’d strive to retain His Highness’s approval, he clapped me on the shoulder and said: Oh, I’ve no doubt at all that all will go well.– à piano piano, si va lontano.6
Please don’t forget to answer all the points relating to the opera, including, for example, what I said about the translator in my last letter. – – I’m supposed to sign a contract. –
What the devil! – I’ve again been prevented from writing wh
at I’d like to write. Raaff has just this minute been to see me. He sends his best wishes, as does the whole of the Cannabich household and both the Wendling households.
Ramm, too. Now farewell, I kiss your hands a thousand times, the driver is just leaving – adieu, I embrace my sister.
I remain ever your most obedient son
Wolf Am. Mozart
My sister mustn’t be lazy but should practise hard. – People are already looking forward to hearing her play. –
My lodgings are with Monsieur Fiat in the Burggasse – but you don’t need to include the address as they know me at the post office – and they also know where I’m staying. Adieu.
Eck and his son7 and Becke send their best wishes.
103. Mozart to his father, 19 December 1780, Munich
Mon très cher Père,
I’ve received the final aria1 for Raaff (who sends you his best wishes), together with the 2 trumpet mutes, your last letter of the 15th and the pair of socks. – The last rehearsal, like the first, turned out very well – the orchestra and the whole audience discovered to their delight that they’d been wrong in thinking that the 2nd act couldn’t possibly be more powerful than the first in terms of its expression and originality – both acts will be rehearsed again next Saturday. But in a large hall at court, which I’ve long been wanting, as it’s far too small at Count Seeau’s – the elector will listen – incognito – from an adjoining room – we’ll have to rehearse for all we’re worth, Cannabich said to me – at the last rehearsal he was dripping with sweat – by the way, talking of sweat reminds me that I think that in the play both remedies must have worked at the same time – has my sister passed on my good wishes? – –
Herr Esser,2 too, attended the rehearsal – he should’ve lunched at Cannabich’s on Sunday but had found a way of getting to Augsburg, so he’d left.Bon voyage! – He came to say goodbye, or so the other people in the house tell me, but I wasn’t at home, I was with Countess Paumgarten3
Mozart: A Life in Letters: A Life in Letters Page 43